Dying Scene Book Review: “In Defense of Ska: Ska More Now Than Ever Edition” by Aaron Carnes

I do not know where to start with this review because Aaron Carnes’s In Defense of Ska leaves almost no stone unturned. Throughout the book’s four hundred forty pages, Carnes relates his love for ska with research, personal stories, and opinions on a genre that has hardly had a moment to breathe since its first […]

I do not know where to start with this review because Aaron Carnes’s In Defense of Ska leaves almost no stone unturned. Throughout the book’s four hundred forty pages, Carnes relates his love for ska with research, personal stories, and opinions on a genre that has hardly had a moment to breathe since its first chords were upstroked. I went in thinking this would just be the ska version of American Hardcore but left with something much better.

In Defense of Ska does have some similarities to Steven Blush’s book, with tons of interviews with people in the scene regaling us with stories of the ups and downs of the genre throughout the years.

However, it also has a breakdown of the waves of ska, including Carnes’s solid theory on ska’s third wave. There is a lot of information on many bands that haven’t really had their histories printed outside of magazine or podcast interviews. Bands like the Voodoo Glow Skulls, Skankin’ Pickle, and the Suicide Machines get some love in the telling of their history, tour stories, and the writing of some of our favorite songs, but are introduced to more obscure ska bands like the Crazy 8’s, Heavy Manners, and Gangster Fun. If you are a music nerd like me, this gives you some new old bands to check out. Some of these bands have multiple chapters but are split up with other chapters in between. I was always wondering what else there was to know about ska, but there was always more info in this book.

Aaron Carnes also relays personal stories about the time he spent in the band Flat Planet. Along with the ’90s ska scene he was a part of in Northern California, including stories about how bands would book tours and Mike Park starting Asian Man Records. Chapters dedicated to the Two Tone film Dance Craze and MTV’s Skaturday, hosted by Carson Daly, show the yin and yang of trying to document a genre of music at times when it is running hot.

If this review feels like I’ve missed any of your favorite bands, it’s probably because I have. The amount of information covered in this book is massive. Adult me was psyched to read this, but high school me would have died for this book. I was stupidly picky about ska bands, but this tome covered all the bands I liked growing up, along with making me reconsider bands I may have turned my nose up at previously. Most of these assumptions were based on where a band was from and their name—stupid things like that—but this book praises the things that make ska great while celebrating each of the bands’ uniqueness. “Ska is the flour. You can make whatever you want of this stuff.”

For those who don’t know, Aaron Carnes hosts a spin-off podcast of In Defense of Ska, which carries on the spirit of the first edition of the book originally published in 2021. Since then, he has kept interviewing anyone and everyone in or around the ska scene and releases the episodes weekly. It’s clear that Carnes has the skill and love to write about ska. This new edition has 30,000 additional words and new sections on the ska scenes in Los Angeles, New York, and the effects of Hurricane Katrina starting a scene in New Orleans, making In Defense of Ska a mountain of a book, but getting to the peak was worth the journey. If you missed the first edition, like I did, do yourself a favor and pick up this new one. In Defense of Ska: Ska More Now Than Ever Edition is available from Clash Books. Please, click here to purchase.

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Dying Scene Show Gallery: Black Eyes and Bed Maker, Comet Ping Pong, Washington, DC (10/12/2024).

On 12 October, Comet Ping Pong hosted a sold out show with headliner band Black Eyes with supporting band Bed Maker in Washington, DC. Dying Scene was there to capture the two DC bands play until midnight with the same energy that they started off with. This was a killer show. Post-punk band, Black Eyes […]

On 12 October, Comet Ping Pong hosted a sold out show with headliner band Black Eyes with supporting band Bed Maker in Washington, DC. Dying Scene was there to capture the two DC bands play until midnight with the same energy that they started off with. This was a killer show.

Post-punk band, Black Eyes came together to perform in front of a packed venue with the original line up from 2001-2004: Dan Caldas (drums/bass/vox), Daniel McCormick (guitar/vox), Hugh MacElroy (bass/keyboard/vox), Jacob Long (bass/guitar/vox), and Mike Kanin (drums/vox). They played a great set from start to finish.

On 25 October, Black Eyes announced new shows coming soon. Stay tuned here.

Another DC’s punk band, Bed Maker was the opening band and they gave it their all. I have seen these guys multiple times in DC and really love the energy they evoke no matter what size the stage is. Band consists of Amanda MacKaye (vox), Jeff Barsky (guitar), Arthur Noll (bass), and Vin Novara (drums).

Yes, MacKaye is the co-founder of Sammich Records and sister to Ian MacKaye (Fugazi and co-owner of Dischord Records) and Alec MacKaye (Untouchables and the Faith).

Go see them here.

Check out the photo gallery below.

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DS Album Review: The Calamatix – ‘The Calamatix’

The Calamatix have released their debut, self-titled album via Hellcat Records, and while summer may very well be over. The Calamatix doesn’t care. The album is full of laid-back music, blending genres like reggae, ska, funk, trip-hop, and punk. They take it upon themselves to transport us back to the slightly warmer days when the […]

The Calamatix have released their debut, self-titled album via Hellcat Records, and while summer may very well be over. The Calamatix doesn’t care. The album is full of laid-back music, blending genres like reggae, ska, funk, trip-hop, and punk. They take it upon themselves to transport us back to the slightly warmer days when the sun was high and the music was filling the streets.

The album opens with “Love, Lies & Alibis,” a bright, danceable, and energetic song that blends Dancehall and a twist of punk into a seamless vibe. With its infectious hook that pulls you in, it sets up an easy entry for the rest of the album. Then comes “Believe It or Not”, easing the listener back into a relaxed, reggae-inspired groove while keeping things fresh and unexpected.

Tracks like “Still Rudy” and “Rootstyle” pick up the tempo once again, each delivering an upbeat ska feel that makes them stand out on the album. Raylin Christensen’s vocals flow effortlessly over the tracks, adding a relaxed and natural charisma that compliments the band’s sound perfectly.  

“Dread” is an exceptional track that showcases the chemistry among the band members. Though one of the slower, more downbeat songs, bassist William “Matty” Taylor and guitarist Adam Porris bring a distinctive richness, making this track feel much more intimate and grounded in the way that balances the album’s brighter moments.

A personal favorite, “Boom Bap,” leading the listener into the song, is Clarence “Pocket” Kidd’s hypnotic drumming beat, layered with a dreamy guitar from Porris and a smooth and airy bassline from Terry. When Christensen steps in with her straightforward and sultry vocals, the listener is transported to a vibe consisting of trip-hop, blending atmosphere and edge into one. When the chorus kicks off, the sound swifts smoothly into a more funk-esque sound. Here Christensen delivers some cutting lyrics “Nah bitch, I’m not easy.” This transition isn’t just surprising but also keeps the energy flowing throughout the song. The album closes out with “Tupelo Honey,” which is a cover of Van Morrison’s song – a beautiful deliverance of vocals from Christensen.

This album is an undeniable invitation to dance, seamlessly blending reflective lyrics with upbeat and infectious energy. Christensen’s passionate delivery of the songs dives deep into the emotional progress while maintaining a refreshing optimism on some of the other tracks. There’s truly a song for every moment, showcasing the band’s range and creativity. The Calamatix have a chemistry that feels both original and refreshing as if they’ve been working on their sound forever. Their music flows so effortlessly, drawing you in with relatable lyrics and catchy hooks. This debut album showcases their talent and hints at what’s to come, definitely leaving you wanting more.

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DS Record Radar: This Week in Punk Vinyl (Chixdiggit, The Flatliners, Screeching Weasel, The Lawrence Arms & More!)

Greetings, and welcome to the Dying Scene Record Radar. If it’s your first time here, thank you for joining us! This is the weekly* column where we cover all things punk rock vinyl; new releases, reissues… you name it, we’ve probably got it. Kick off your shoes, pull up a chair, crack open a cold […]

Greetings, and welcome to the Dying Scene Record Radar. If it’s your first time here, thank you for joining us! This is the weekly* column where we cover all things punk rock vinyl; new releases, reissues… you name it, we’ve probably got it. Kick off your shoes, pull up a chair, crack open a cold one, and break out those wallets, because it’s go time. Let’s get into it!

Check out the video edition of this week’s Record Radar, presented by Punk Rock Radar:

The first of 20(?) records on this week’s Record Radar is the almighty Chixdiggit’s self-titled debut LP, which has been reissued for the first time since its original release in 1996! Hey Suburbia Records has pressed 500 copies on red colored vinyl, and you can get it from them in Europe and Sounds Rad here in the states.

Add The Flatliners to the list of Canadian bands reissuing their long out of print debut albums. With its 20th birthday fast approaching, 2005’s Destroy to Create has been reissued on three new color variants: Triple Stripe (300 copies, SOLD OUT), Red and Yellow Splatter (don’t know how many copies, get it here), and Blue / Red Splatter (300 copies, get it here).

Back in print for the first time in 15 years, Screeching Weasel’s Boogadaboogadaboogada! is getting a special “Legacy Edition” reissue from Striped Records. This 2xLP set features the 2020 remaster edition of the album and a bonus LP with a live recording from 1988, along with an 8 page booklet, all housed in a gatefold jacket with new gold cover art. You can get it on four different color variants here (if shipping’s pricey for my fellow ‘Mericans, keep an eye on the Screeching Weasel merch store; they’ll have some copies on there soon enough).

And that’s not the only bad ass new release Striped Records has in the pipeline. Austrian pop-punk favorites DeeCracks teamed up with Andrea from The Manges to cover the Ramones’ Brain Drain in honor of the album’s 50th birthday. You can get it on red and/or black colored vinyl right here. Our friends at Mom’s Basement have some black vinyl copies in their US distro as well.

Italian punks The Ammonoids just released an awesome new single called “If a Comet Strikes the Earth”. Check it out below and get the 7″ (limited to 50 copies) right here.

Australian melodic punks Ebolagoldfish will be releasing their new album Bad Choices Good Times on November 15th. There are two bad ass vinyl color variants available on their home turf from Pee Records, and abroad from Double Helix (US), Bearded Punk (EU), and Cat’s Claw Records (UK).

Diesel Boy’s 2023 comeback record Gets Old has earned a 2nd pressing, with four new color variants available from SBAM Records (EU) and Double Helix Records (US, only turquoise and pink available here). You’ll also notice the cover art has been re-shaded to match the new color variants, which I immensely appreciate.

Earlier this month I told you about the new Authority Zero EP Thirty Years: Speaking to the Youth, which at the time was only available to pre-order on some mystery color variant from a few German e-tailers. Since then, four variants have been revealed, including the Thousand Islands Records exclusive Astroturf color variant along with three others you can get from SBAM Records.

And we’re completing the SBAM Records trifecta with – you guessed it – another release from SBAM Records! Swedish melodic punk veterans Venerea’s 2005 album One Louder is being released on vinyl for the first time ever(!) and you can get it on three color variants by clicking this hyperlink on Al Gore’s internet.

A year after the album’s actual 15th birthday, The Bronx are making up for lost time with this belated reissue of The Bronx III. You can get it on three color variants – limited to 500 copies each – right here.

The wolf-mask wearing, basketball uniform sporting pride of St. Petersburg, Florida Wolf-Face has bestowed upon us a new 4-song EP called Michaelangelo J. Wolf. It’s streaming now (check it out below) and the 12″ will be available soon from Euclid Place Records; if you’re at The Fest right now you can get it from the band’s merch table.

Travis from Eccentric Pop hit me up and was like “hey, check out my new band!” and I did! And then I was like “hey, this is pretty good, Travis from Eccentric Pop!”. And now I’m here to tell you bout Travis from Eccentric Pop’s new band Nervous Systems. They’ve got a new 7″ out now on – you guessed it! – Eccentric Pop Records, featuring two songs that differ from the label’s usual fare in quite an enjoyable way. Check out Side A’s “Infomercial” below and grab the 7″ here; consider picking up some of Eccentric Pop’s other awesome, economically priced records while you’re over there.

Pennsylvania pop-punks Punchline are reissuing their 2003 Action LP with 1,000 copies spread across 5(?) stunning color variants. You can get most of them here, but I think a few will be exclusive to indie stores and the band’s Action 20th Anniversary show at the Roxian Theatre in Pittsburg on November 30th.

Brand new Orange County punk label Mild Chaos Records’ first release is a comp featuring songs by J. Graves, Local Bylaws, The Gringoz, and a bunch of other bands! You can get it on translucent yellow colored vinyl – and CD! – right here.

Add the Lawrence Arms’ Metropole to the list of albums that are older than you thought they were. This shit’s somehow 10 years old already, and it’s apparently been out of print for about as long. Smartpunk Records is changing that, however, with their exclusive repress on Sunburst Splash colored vinyl, limited to 300 copies. Get it here!

Take a short drive across Orlando from Smartpunk Records and you’ll find yourself at Park Ave CDs, where they’ve got autographed copies of Hot Water Music’s latest album Vows up for grabs. This isn’t a new color – the record inside the sleeve is the Florida retail exclusive orange variant – but it is a good way to get a copy signed by the whole band and $5 from each record sold goes to the American Red Cross hurricane relief fund. Get it here.

And bringing up the rear on this week’s Record Radar is The Briefs with a 25th anniversary reissue of their 1999 debut single “Poor and Weird”. This is back in print for the first time ever thanks to TKO Records, and considering one of the variants has already sold out, I’d say it’s soon to be out of print once again! Act fast and grab a copy here. The Briefs will be releasing a brand new 7″ single called “High Society” on November 7th, also through TKO Records. That’s not available to pre-order yet, but we’ll keep you posted!

Well, that’s all, folks. Another Record Radar in the books. Short one this week! As always, thank you for tuning in. If there’s anything we missed (highly likely), or if you want to let everyone know about a new/upcoming vinyl release you’re excited about, leave us a comment below, or send us a message on Facebook or Instagram, and we’ll look into it. Enjoy your weekend, and don’t blow too much money on spinny discs (or do, I’m not your father). See ya next time!

Wanna catch up on all of our Record Radar posts? Click here and you’ll be taken to a page with all the past entries in the column. Magic!

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DS Photo Gallery: Big D and the Kids Table, Thumper, The Kilograms and Folly celebrate Halloween at Boston’s Big Night Live

It was a bit of an early Turn-Back-The-Clock night at Boston’s Big Night Live last Saturday as long-running ska punk favorites Big D and the Kids Table resurrected their epic Halloween show tradition at Boston’s Big Night Live. Joining them for the festivities were a couple of regionally iconic bands – Thumper and Folly – […]

It was a bit of an early Turn-Back-The-Clock night at Boston’s Big Night Live last Saturday as long-running ska punk favorites Big D and the Kids Table resurrected their epic Halloween show tradition at Boston’s Big Night Live. Joining them for the festivities were a couple of regionally iconic bands – Thumper and Folly – and a relatively new supergroup (The Kilograms), a sort of Voltron made up of some longtime scene heavyweights – Sammy Kay, Joe Gittleman, Michael McDermott and J Duckworth. Despite being a four-band bill (seriously…a four-band bill? In this economy?) the 5:00pm doors, speedy changeovers and hard 9:30 curfew meant this was a perfect show for “The Olds” such as myself.

Hailing from the wilds of northern New Jersey, hardcore/ska crossover band Folly kicked off the evening’s festivities in blistering fashion. Accompanied by a nearly seizure-inducing endless strobe-lit stage show (that did wonders for a rank amateur photographer such as myself), the five-piece blazed through a half-hour set that set the stage for what was to come. The band got back together a couple years ago, nearly a quarter-century after their original run began, and while they might be older and wiser, they haven’t lost much of a step in their ferocity.

Next up was The Kilograms. Now I would be lying if I said this wasn’t the set that I was most interested in catching. While the collective number of shows that the band’s members have played in their previous endeavors numbers well into the thousands, this event marked not only the fifteenth show in the band’s history together but their first-ever show in Boston, which is obviously the place where Joe Gittleman earned his status as a genre-defining scene pioneer. I’ve been hip to the project – which came together fairly organically and almost entirely existed in the virtual world of Al Gore’s Internet before finally playing a show together back in May – since essentially the beginning, so it was great to finally see them together in the same room. Outfitted as the Gallagher brother’s New Jersey nephew, Kay takes center stage, although he and Gittleman and Duckworth take turns sharing vocal duties, at least when the latter isn’t spinning like a top at stage right. McDermott, who I hadn’t seen play in the almost dozen years since he left the Souls, kept the beat as steady as ever, letting the three-headed monster out front bob and weave and create their blend of rocksteady ska. Special shoutout to Craig Gorsline on the keys, providing layers of texture and filling out the rocksteady live sound. Extra special shoutout for the reworked version of the classic “Lean on Sheena” which Gittleman wrote and performed with Avoid One Thing and McDermott brought to the Souls, yet when they combine, it’s for a new, fresh version that only vaguely resembles the versions you’re used to hearing. Stay tuned for more from The ‘Grams soon, but for now you can listen on bandcamp.

Thumper was up next, and I’ll admit that I was almost as stoked to see Thumper as I was to see the Kilograms. I fell in love with Thumper in the mid-1990s, during the peak of what I guess we’re still calling ska’s third wave. They weren’t your average ska-core band, with a two-tone-meets-thrash-metal-infused sound and sense of humor and intelligence that were all their own. The last time I’d seen Thumper was coincidentally with Big D and the Kids Table at Tune Inn (R.I.P.) in New Haven, CT, on Valentine’s Day 1998. I don’t know if I knew at the time it would be my last Thumper show for many years – the band broke up later that year and I never made it to the scattered reunion shows they’ve done – so it was a welcome treat to see them dust off the cobwebs and jump on this bill. “Burn Baby Burn” and “Holy Roller” and “Backstabber” still go as hard as ever (especially the latter, which featured Folly returning to the stage for a big group throwdown).

And finally the witching hour – in this case around 8:00pm – was upon us, and it was Big D and the Kids Table’s turn to entertain the masses. Not only were the band celebrating Halloween as per usual, but they were also celebrating the 25 years of their 1999 Asian Man Records full-length debut Good Luck. It may be a bit of recency bias to say this, but though I’ve lost track of how many different live incarnations of Big D I’ve seen since 1997, this one – centered as always around the energetic bordering on theatrical David McWane – might be the tightest. The band blistered through Good Luck in what seemed like record time, perhaps due to the hard curfew. With a lot of my ska-core listening days behind me, I guess I’d forgotten how fun that record was, as it’s been overshadowed by Strictly Rude and Fluent In Stroll in recent times. If you’re like me, you can relish in those old days by watching the Good Luck tour documentary that finally found its way to YouTube after a quarter-century. Those memories seem like both just yesterday and like two lifetimes ago.

Check out more shots from each band’s sets below!

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DS Show Review and Galleries: Johnny Marr and James at Riviera Theatre. Chicago (10.17.2024)

Manchester, England was represented big time in the Uptown neighborhood of Chicago. The Riviera Theatre hosted The Smith’s co-founder Johnny Marr and his co-headliner James. It was a great show, made a bit greater because the venue is within walking distance of my home. Johnny Marr co-founded The Smiths with Morrissey in 1982 in Manchester, […]

Manchester, England was represented big time in the Uptown neighborhood of Chicago. The Riviera Theatre hosted The Smith’s co-founder Johnny Marr and his co-headliner James. It was a great show, made a bit greater because the venue is within walking distance of my home.


Johnny Marr co-founded The Smiths with Morrissey in 1982 in Manchester, England. The two were songwriting partners, and though the band was active for five years, it left behind a massive legacy.

Marr will also leave a formidable legacy as a solo artist. This was apparent by his performance at “The Riv” on a mild Thursday evening. He spent much of the time at the edge of the stage and sprinkled in some light bantering with fans.

His searing guitar playing, with extended solos, was intense but not ostentatious. It was non-verbal poetry.

The set list was pretty well-balanced between The Smiths tunes and Marr’s solo work. Amongst the latter: Marr performed, “Panic,” with a bit disdainful glee as he sang the lyrics “hang the dj,” repeatedly. With a mischievous grin Marr informed the audience, “We don’t do freedom rock in England, we do the opposite,” before launching into a spirited version of “This Charming Man.” “Please Please Please Let Me Get What I Want,” was gently pleading and poignant.

Marr kicked off the show with a lively rendition of “Armotopia” and was mesmerizing with “Spirit, Power, and Soul.” There was also a cheeky version of Electronic’s “Getting Away with It.” Electronic is one of Marr’s bands, with the other members being Bernard Sumner from New Order and The Pet Shop Boys’ Neil Tennant. The tune is a sly, though unsubtle, roasting of Morrissey’s perceived melancholy posturing.

I’ve been walking in the rain just to get wet on purpose
I’ve been forcing myself not to forget just to feel worse
I’ve been getting away with it all my life
(Getting away)

Marr ended the evening with a two-song encore. The first was an exuberant cover of Iggy Pop’s “The Passenger.” He was joined by James’ frontman Tim Booth, with Booth handling lead vocals.

Finally, “There Is A Light That Never Goes Out’ was also a duet of sorts. Or rather a call and response as Marr sang the eponymous lyrics and turned the microphone so the very enthusiastic crowd could sing the same words.

But the very first words of that tune perfectly fit the mood,

Take me out tonight
Where there’s music and there’s people

It was a great night for both.


Marr’s fellow Mancunians in James were transcendent. Singer Tim Booth, clad in a loose white shirt with flowing blue pants, was alternatively in perpetual motion during some songs, sinuously dancing about the stage, or in meditative stillness during others. Often both modes during the same song. Booth utterly captivated those in attendance while leading his incredibly talented bandmates through an amazing set which included “Out to Get You,” “Stay,” and “Mobile God.”

This set includes the heart-rending “Moving On.” Booth recalled to the audience how being able to be with his mother as she passed away was a beautiful experience. It’s a subject he’s touched on numerous times in interviews, describing death as a sort of rebirth. The song, along with its official music video, is in equal measure, full of sorrow and peaceful catharsis:

I’m on my way
Soon be moving on my way
Leave a little light on
Leave a little light on
.”

Booth’s performance reached greater heights during “Getting Away With It (All Messed Up).” Quite literally, as he scaled the wall at stage right, climbing into the first opera box to momentarily sing and dance with fans seated there. He then moved up onto the second and third opera boxes, doing the same before finishing up on the balcony. It was a little nerve-wracking to see the singer standing partially on the edges of these areas. Indeed, Booth could be seen testing the railing, checking for possible looseness, of the first opera box before committing to the move. Thankfully, sometimes, with the help of fans who often but not always held his hand during these moments, he made it down back to the stage safely.

And though the tune’s name is similar to that of the aforementioned Electronic song, it is quite different.

We’re getting away with it
All messed up
Getting away with it
All messed up
That’s the living
.”

James finished out its set with a rousing rendition of its biggest international hit “Laid.” The infectious beat, the wonderous falsetto, and the sometimes relatable lyrics (if not literally, but in spirit) all combine to make it so good. The song’s narrator acknowledges a toxic relationship, and his inability to leave is confirmed in its closing moments.

You’re driving me crazy
When are you coming home?

The song was a massive hit when first released in 1993. It later became known to a certain demographic as the theme song to the American Pie movie franchise.

And in 2024, it was again sent out into the public conscience for new fans to be created. SPOILER ALERT (but it has been out for many months so come on…) In one of the final scenes in the season 3 finale of the critically acclaimed and award-winning Chicago set television show, The Bear, the song is blasted during a party in which the characters dance together joyously. Yes, I did mean to use the word joyously when describing a scene from The Bear.

The comments from the official video posting on Youtube are further testimony to the the power of movies, shows, and social media to bring beloved songs to whole new generations. Or remind those of us who immediately loved it why we still do and always will.


Without a doubt, this was one of my very favorite shows to cover for Dying Scene in 2024. I hope to see both sets of musicians back in Chicago sooner than later. Ideally sharing the bill again. I hope everyone gets that opportunity.

Cheers!

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Dying Scene Book Review – “Hell on Wheels: Tour Stories: Remembered, Remixed, Remastered

Tour stories are a dime a dozen, but the number of bands on tour at any given time over the last forty years means the cache is never empty. Enter “Hell on Wheels,” Greg Jacobs’ book with a plethora of tour stories from a number of different bands, originally published in 1994. Jacobs has some […]

Tour stories are a dime a dozen, but the number of bands on tour at any given time over the last forty years means the cache is never empty. Enter “Hell on Wheels,” Greg Jacobs’ book with a plethora of tour stories from a number of different bands, originally published in 1994. Jacobs has some pretty legit bonafides in punk rock, working for record labels SST, Cruz, Cargo, and Trust, along with managing bands such as Big Drill Car, Rocket From The Crypt, and others. With this new edition, Greg has compiled about fifty new stories and twenty from the previous edition. These are stories broken up into two sections: “New Releases” and “Greatest Hits – Remixed.” Both of these sections are broken up into different chapters grouping some of these stories into specific categories. Most of the chapter titles named mostly after songs that would make a pretty decent mixtape itself.

“New Releases” features the new stories for this expanded edition of “Hell on Wheels.” There are stories about bathroom accidents (“Accidents Will Happen”), drugs (“Chinese Rock”), and weather (“Raindrops Keep Falling on My Head”). There are some stories about the early days of some of our favorite band members. Ian MacKaye tells the story of his pre-Minor Threat band Teen Idles’ first and only tour of Los Angeles. Joby Ford of The Bronx tells a story about a Mercedes-Benz landing in the middle of their van. The Jesus Lizard talks about the prank war they had on a tour with Six Finger Satellite.

Some of these stories coincide with a specific time in history, such as Scott Reynolds (All) and Joe Escalante (The Vandals) telling stories about being at the Berlin Wall shortly before it came down as part of the appropriately named chapter “Holidays in the Sun.” Some contributors, like Rat Scabies (The Damned) and Matt Pryor (The Get Up Kids), have multiple entries. In the chapter titled “Saturday Night’s Alright for Fighting,” Lee Ving and Ian MacKaye go over their versions of Fear’s infamous Saturday Night Live performance on Halloween 1981. Being a punk rock and SNL nerd, I can hands down say this was my favorite part.

The book closes with “Greatest Hits – Remixed.” This smaller section of the book, about a hundred or so pages, is dedicated to twenty of the best stories from “Hell on Wheels'” previous edition. Chapter “Thirsty and Miserable” features some more drinking stories. One particular story is told by Eddie Spaghetti of the Supersuckers, where their guitar player, Dan Bolton, and The Reverend Horton Heat got into a fight with some local band. In a separate section, Mike Watt talks about how the headstock of one of his basses broke after he had bought a copy of Salman Rushdie’s “The Satanic Verses.”

These were the stories that stuck out to me. For as many bands as I knew in this book, there were probably a good handful I hadn’t heard of or listened to before. The great thing about this book is the spectrum of bands it covers. Most of the contributors are from punk rock bands, but there are a few metal bands mentioned here and there. Greg Jacobs has compiled a fantastic collection of stories ripe for the picking. If you recognize half the bands in this book, it will be a buffet of content. “Hell on Wheels” is available for purchase through University of Hell Press.

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DS Show Review & Photo Gallery: Torture w/ Payasa, Prevention, and Primitive Rage (Chicago IL)

Torture brought the pain to Schubas Tavern in Chicago IL, with a loaded cast of Hardcore bands, Payasa, Prevention, and Primitive Rage. For those who haven’t heard, Torture are an up and coming slam band that hit the Hardcore seen hard after getting a last minute call to show up at Sound and Fury earlier […]

Torture brought the pain to Schubas Tavern in Chicago IL, with a loaded cast of Hardcore bands, Payasa, Prevention, and Primitive Rage.

For those who haven’t heard, Torture are an up and coming slam band that hit the Hardcore seen hard after getting a last minute call to show up at Sound and Fury earlier this summer. What began as the brainchild/solo project of the drummer and vocalist known as K.K. found its way around online forums and Reddit after the release of the fourth album 4-“Enduring Freedom”. Torture brings a strong anti-war message that can be heard throughout each song with drums that resemble helicopters and machine guns, and mean, chuggy guitar riffs that turn the cruelties of war into an attack on the crowd. They have a truly unique sound characterized by rapidly changing time signatures and K.K.’s vocals, which have no words. It all comes together as an extremely thought-provoking and outwardly violent experience.


When the project gained steam K.K. brought on his best friends to take up the other parts in the band. All the band members are from the Chicagoland area so playing at Schubas was somewhat of a homecoming. They have been notorious for drawing energetic crowds with violent mosh pits and the crowd here did not disappoint. A constant assault of heavy breakdowns had limbs and bodies, flailing and trash cans and beers getting tossed around the small, dark venue.


Playing before Torture was another band from the Chicagoland area, Payasa. Payasa absolutely rips. After listening to their first two EPs they became an instant favorite of mine and after getting the opportunity to see them live I’ll make sure I’m in the crowd for every show they play in Chicago. Lead singer Brittany Lane’s vocals are just awesome. They range from high and shrill screams to low and guttural and just all around angry in the best way possible. It provides an excellent balance to the sound the band is going for. She mixes all that range into delivering highly relatable lyrics that focus heavily on anxiety and depression. Their sound is rounded out by slow, creepy guitar riffs and big, heavy breakdowns that makes their live experience so satisfying.


Prevention Showed up repping Springfield IL, Straight Edge hard. Prevention are fresh off of their recent split EP with Anklebiter. Vocalist Drew Kodrich has a voice that reminds me Bryan Garris of Knocked Loose which gives Prevention a sound that you don’t hear too often in Hardcore. The band asks a lot of questions of society and our place within it. Their song “Don’t You Want To Be Free?” , I envision, asks that question of us as society blindly falls into line with overreaching capitalistic greed and the constantly growing surveillance state.


Primitive Rage, a Springfield Missouri-based power violence band, got things going. As the first opener they brought the energy, paced by a gorgeous, poppy, tight-wound snare and ferocious, biting vocals that does the band’s name justice. The vocals come through shrill and biting with a touch of desperation. They have gone on record that they want their music to “scary and insane” and they nail that perfectly with their own hybrid of metalcore and death metal.



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DS Photo Gallery: Bikini Kill and Sweeping Promises at Baltimore Soundstage in Baltimore, Maryland

On 11 September, Bikini Kill performed the first of two SOLD OUT shows at the Baltimore Soundstage in Baltimore, Maryland, joined by Sweeping Promises, which was the perfect supporting band. These shows marked the end of Bikini Kill’s North American 2024 tour – rumored to be their final.   Bikini Kill performed to a full house with the […]

On 11 September, Bikini Kill performed the first of two SOLD OUT shows at the Baltimore Soundstage in Baltimore, Maryland, joined by Sweeping Promises, which was the perfect supporting band. These shows marked the end of Bikini Kill’s North American 2024 tour – rumored to be their final.  

Bikini Kill performed to a full house with the original Riot Grrrls, Kathleen Hanna, Tobi Vail, and Kathi Wilcox were joined by guitarist Sara Landeau (The Julie Ruin), who has accompanied their last two tours. Fans spanning seven decades or so stood shoulder to shoulder, roaring out the lyrics to Bikini Kill’s empowering feminist anthems. The band ripped through their set with the guttural energy of their origins in the 90’s Pacific Northwest punk scene, and the tight sound of seasoned musicians (Tobi and Kathleen switched places on lead vocals and drums a few times – a fun role change of two legends). I stood in awe watching fans from 7 to 80 years old reveling as Bikini Kill sang “Suck My Left One” and it was GREAT!

Towards the end of the night, the band hinted that this might be their last tour, which, if true, would mark the end of an iconic era in the punk music scene. Bikini Kill changed the standard punk scenery in the early 90’s by calling out dangerous misogynist behavior from the stage, famously insisting on “girls to the front”. Three decades later, the band is still holding people accountable for bad behavior from the stage while motivating their audiences to make meaningful change in their communities.

Bikini Kill has paved the way for a ton of girl bands and feminism in general, and while I hope this tour is not actually going to be their last, the honor to photograph it was tremendous. 

How BK is influencing a new generation of fans – here are some amazing quotes from my teenage nephew and his friends who attended the Portland, Oregon (Forest Grove) show:

“I thought they were so energetic and entertaining to watch. I liked how they worked with the crowd a lot and their personalities which was fun to see in person”. – Pin A. 14

“It was THE BEST show I’ve ever seen”. – Anikka 17

“I love that the band spoke up about important issues. Kathleen asked all the trans people to scream as loud as they could, and I’m trans, so that was really cool. Everybody there was weird, which was great. You don’t have to worry about being looked down on for the way you’re dressed. I got compliments on my battle vest, and saw lots of other cool ones that inspired me. It changed my life. It was the best show I’ve ever been to”. – Moxxie B (15)

Sweeping Promises (SP) is a post punk band from Lawrence, Kansas that includes Lira Mondal (bassist/vocals), Caufield Schnug (guitarist), and Spenser Gralla (drummer). SP was a surprise to many who didn’t know what to expect with a distinct new wave sound that is compared to bands like Viagra Boys, B52’s, Devo, and more.

The band started the night with an amazing energy that was felt through the venue, especially when Mondal introduced her beautiful grungy harmonies, Schnug (tall and lanky) is mesmerizing to watch as he played the guitar, and Gralla killed on drums. While standing the midst of the crowd, I heard a lady next to me say, “I didn’t know I’d love them this much” as she danced with her friends the entire set. I think they’ve became instant fans. Be sure to catch them here.

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DS Gallery: Grime punk? Hip-hop? Grunge? You get a taste of it all with Bob Vylan and Jigsaw Youth at Chicago’s Subterranean!

Chicago got a truly unforgettable night of grime punk and grunge with the high-intensity raw power from both Bob Vylan and Jigsaw Youth at the Subterranean on October 1st. You know Dying Scene would not miss the Humble as the Sun tour! Joining Bob Vylan on their North American tour is my favorite nitty gritty […]

Chicago got a truly unforgettable night of grime punk and grunge with the high-intensity raw power from both Bob Vylan and Jigsaw Youth at the Subterranean on October 1st. You know Dying Scene would not miss the Humble as the Sun tour!


Joining Bob Vylan on their North American tour is my favorite nitty gritty city band, Jigsaw Youth.

Jigsaw Youth is non-stop working their asses off; since we last covered them at their show with Des Rocs at The Bottom Lounge on April 26th, the sludgy-grunge non-apologetic band from Staten Island, NY has released two more singles: “Waiting” and “Secret“.

They also played major festivals Louder Than Life in Louisville, Kentucky and Aftershock in Sacramento, California all while embarking on Bob Vylan’s Humble as the Sun North American tour. 


Jigsaw Youth’s gritty guitar riffs echoes of excitement, complete with angsty vocals; top that off with encouraging fans to form circle pits and you have the perfect storm of chaotic energy.

What is up next for Jigsaw Youth? East Coasters are in luck: on November 3rd they are playing with an absolutely sick line up at Gold Sounds in Brooklyn, New York with Skarhead and NEWCOMER plus a nearly sold-out show (if not sold out already!) in Philadelphia on December 14th at Creep Records. You can also get your vacation on at ShipRocked January 19-25th, 2025 and cruise with some killer bands.  

Meanwhile, I will be here waiting, wishing and hoping for a well-deserved Jigsaw Youth headlining tour and album. 😉 



The grime punk/hip hop hell-raising duo from London Bob Vylan took the stage next. Compromised of Bobby Vylan and Bobbie Vylan, they released Humble as the Sun on April 5th, 2024. They both put on an exciting, in your face performance every time I have seen them (check out our gallery of them from Riot Fest 2022 here!) and they cannot be missed. Their unique blend of genres creates a sense of urgency and action, but also comradery and tranquility. 


Bobby Vylan makes a connection with his audience at every show, engaging with fans and fearlessly crowd surfing, leaving everyone thrilled to be a part of the experience. His passionate energy while echoing social and political issues is nothing short of inspiring. The duo’s performances always knock it out of the park! 

The duo also played Louder Than Life and Aftershock this year in addition to several European music festivals. The Humble as the Sun tour continues to the UK right now, so if you are across the pond do not miss your chance to see them! 



Check out the rest of the gallery below!


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